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Charles Wesley believed in imparted righteousness. This comes through in the Wesleyan hymnody such as his famous hymn "And can it be". The last verse reads: No condemnation now I dread; Jesus, and all in Him, is mine !
The hymn remains popular today and is included in many contemporary hymn books. In 2013, following a survey conducted by the BBC Television programme Songs of Praise, "And Can It Be?" was voted number 6 in the UK's Top 100 Hymns. [4] Diarmaid MacCulloch suggests that the hymn is one of the best-loved of Wesley's six thousand hymns. [5] "And Can ...
and I detest all my sins, because I dread the loss of heaven and the pains of hell, but most of all because they offend Thee, my God, Who art all good and deserving of all my love. I firmly resolve, with the help of Thy grace, to confess my sins, to do penance and to amend my life. Amen. [9] [10]
The reformer Martin Luther, a prolific hymnodist, regarded music and especially hymns in German as important means for the development of faith.. Luther wrote songs for occasions of the liturgical year (Advent, Christmas, Purification, Epiphany, Easter, Pentecost, Trinity), hymns on topics of the catechism (Ten Commandments, Lord's Prayer, creed, baptism, confession, Eucharist), paraphrases of ...
In the 1780 Collection of Hymns, the fifth and seventh stanzas were removed, [1] and the text was also divided into two parts, with the second given the heading "Yield to me now, for I am weak." The 1849 hymnbook Hymns for the use of the Methodist Episcopal Church divides the text into four parts, each given a separate hymn number: "Come, O ...
John Mason Neale made a translation of the hymn which appeared as "Creator of the Stars of Night" in the first edition of the Hymnal Noted in 1852. [8] The ancient text served as the basis for the text found in the Liturgia Horarum revised in the wake of the Second Vatican Council , where it is indicated for use at Vespers on the First Sunday ...
I Shall Not Be Moved" (Roud 9134), also known as "We Shall Not Be Moved", is an African-American slave spiritual, hymn, and protest song dating to the early 19th century American south. [1] It was likely originally sung at revivalist camp-meetings as a slave jubilee .
S.-G. Pimont argued for the authorship of Ambrose of Milan. [1] The Benedictine editors and Luigi Biraghi disagreed. [2]The hymn is found in a hymnary in Irish script (described by Clemens Blume in his Cursus, etc.) of the eighth or early ninth century; but the classical prosody of its two stanzas (solita in the third line of the original text is the only exception) suggests a much earlier origin.